“I, Justine, or the Misfortunes of Innocence. Gesualdo, or the Misfortunes of Cruelty”, English-Bulgarian (bilingual) edition, Altera, 2010
This book has the power of a pendulum gone mad – the most sublime and the most deprived meet at the bottom of the possible femininity – in the body, which is Justine, and the soul, which is Gesualdo. A woman against a man, a writing against another writing – a duel on the edge of seduction and profanity. Two poems – the one charged with explosives, the other with Shakespeare. If we want to exit this world, we need at least a body or genius.
“A lot of women write in the tradition of feminism, but Irinia Delina is doing something very rare: she is creating new views, going back to the sources of modern writing, acting as feminine pendant to the great masculine tradition. She does that with courage and wisdom and in a sublime style of writing which is shocking and at the same time deeply satisfying to any reader open minded enough to allow his way of thinking and feeling to be changed.
Amazingly strong texts.”
Knut Odegard – President of the Norwegian Academy of Literature
“Mozart clad in words …This is not a text but revenge, an inspired disappointment from the cliches, which through the man, rule the women and their femininity.”
Laurie-Elizabeth Ferns – literary critic
“An evolutionary icon – Irinia Delina is one of the few thinkers who really understand the aesthetic shift of our time in its depth and fundamentality.”
Martha Senger – Director and Founder of G2 Institute of Integral Aesthetics
“The new writing, the birth of which we are witnessing here, is not standing on the sublimation and the deprivation of the Eros. Just the opposite, the liberalized Eros. as far as it goes, has taken the writing itself in. The text is powerful because it is one of sexuality and intellect, cruelty and suffering. The text is powerful because it is erotic, and it is erotic because it has transformed the absorbed in itself sexuality into metaphysics …”
Johann Ge Moll – co-author of “Libido Significandi or the Lust for Meaning”
The Fallus as a Mirror of the World
“The ancient conflict between the male and the female beginning is displayed to the extreme in the book of Irinia Delina “I, Justine, or the Misfortunes of Innocence and Gesualdo, or the Misfortunes of Cruelty” (Altera Publishing House). The author pushes off from the phallocentric organization of the Western world to build the image of pain as the mainstay of feminine sensuality.
Artistic Delina – a poet, philosopher, playwright and artist arrived from California especially for the premiere of the book, who together with Avrora Timev and Agnes Bariloche presented separate parts of the literary work. “Even the most spiritualized woman looks like an exquisite sexual organ, a snake on fire, a mythological phallic metaphor, a weapon by which man conquers his own impotence” – this is the pirouette by which Delina sees also the other side of the coin, which Marquis de Sade reveals in the novel, to which title the author refers directly – “Justine, or the Misfortunes of Innocence”.
To them Irinia Delina has added “Gesualdo, or the Misfortunes of Cruelty” and shown how male nature is deeply impotent without putting the woman in a vicarious role. Debunking of the century-old stereotype takes place in two parts, as the “female” part combines philosophical essay and poetry and the “male” part is a play.
Delina herself has defined the text not only as philosophical, but also as homeopathic. The lines “Good night, whores! It’s time to agree with death. There a familiar face awaits you” carry the pain that every woman hides in herself and will impatiently wait for her irrevocable meeting. In their deeper meaning the harsh, unsparing and honest words of Irinia Delina speak long after they have been uttered.”
Lilyana Karadzhova – Novinar Newspaper, 2011
“Irinia Delina is a poet, philosopher, musician, playwright and artist. She is an author of multiple poetry books, treatise of Philosophy of Language and Philosophy of Music, a project for “Theatre of Intellectual Sensuality”, research in models of consciousness and quantum physics. She is involved in an advanced scientific research project on vacuum.
The book “Justine and Gesualdo” is definitely a new phenomenon in the Bulgarian Gender Theory. It consists of two parts: “Justine” and “Gesualdo”, as the first attempts to revive radical feminism in the spirit of Luce Irigaray and the second – to find the marginal male beginnings through Shakespeare. It is important that these theoretical searches are presented in artistic form. The “female” part combines philosophical essay and poetry and the “male” part is a play. The author (or her literary character, who knows) turns to Justine of Marquis de Sade and speaks of humiliated and lost femininity. Gesualdo is a ruler, but also a master of madrigals, a musician and a Shakespearean melancholic. He is one of the most notorious murderers of all time and his drama is that it is crime that gives birth to his talent. The presence of simple folk characters Vini and Lucio in the second part makes it possible to read it also as a Shakespearean remark to “Rosencrantz and Gildenstern Are Dead” by Tom Stoppard. The book is bilingual – in Bulgarian and in English language.”
Altera Publishing House, 2011